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If her debut album title is any indication, Karol G has been unstoppable — especially on the Billboard charts, where she’s earned eight No. 1 hits on the Hot Latin Songs list. Explore Explore See latest videos, charts and news See latest videos, charts and news In celebration of her 33rd birthday Wednesday (Feb. 14), […]
Few artists blend the organic with the electronic as seamlessly and thoughtfully as Roberto Carlos Lange, known by his stage name Helado Negro. With his ninth studio album, Phasor, the Ecuadorian-American singer/producer embarks on a journey that transcends the boundaries of sound, technology, and nature. This voyage is underscored by an unexpected triad: the majestic Smoky Mountains, the humble mushroom, and a supercomputer.
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Following the success of Far In, which peaked at No. 85 on Billboard‘s Top Album Sales chart in November 2021, Phasor emerges as a culmination of the creative’s evolving musical style and thematic exploration, from the drum and bass-leaning This Is How You Smile (2019) to the quarantine reflections of Far In.
Phasor defies easy categorization — a trait Lange himself acknowledges. “The main story can be so elusive,” he muses. “There’s intention, but there’s also obscurity and literal meanings.” This openness sets the stage for an album rich in multifaceted themes, from introspection and personal connection to profound engagements with the natural world.
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Echoes of the Smoky Mountains
The Florida-bred musician’s move from Brooklyn to Asheville, North Carolina, marked a significant shift in his creative landscape. “My connection was water, the beach and mostly city life,” Lange remembers about his upbringing, and evinced in “Colores del Mar.” The Smoky Mountains’ breathtaking beauty and tranquility offered a stark contrast to the urban environments he had previously inhabited. “The mountains are really spectacular. They surround you, going hiking, having all these views and being able to see so much. It really affected me,” the singer mentions, where the serene and the sublime merge, as his “mountainous muses.”
From Fungi to Frequencies
Ahead of Phasor‘s release, Lange piqued interest with a social media post on X displaying a collection of magic mushrooms, suggesting they played a role in the album’s creation. “This album was on heavy rotation while making my new album,” he wrote. While playful, this isn’t far from the truth: The album embodies a psychedelic exploration not just in sound but in spirit (listen to the exploratory sounds of “Out There” and “Echo Tricks Me”), drawing parallels between the mind-expanding journey of psychedelics and the boundless possibilities of musical exploration.
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“There’s this physical space and then this mental and spiritual space that gives me more freedom to feel a little more quiet in my mind,” he tells Billboard Español. “Also having a little more focus and deeper intention with my work.”
Bridging Histories Through Sound
Opening track “LFO” (Lupe Finds Oliveros) connects the legacies of two pioneering women: Pauline Oliveros, an Tejana avant-garde musician known for her philosophy of deep listening, and Lupe López, a Mexican-American Fender amplifier technician from the 1950s whose meticulous craftsmanship has resonated through time. Lange found inspiration in the intersecting stories of Oliveros and López, tying together their contributions to music and sound.
Oliveros’s work in deep listening — a practice of fully immersing oneself in the sounds of one’s environment — and López’s renowned precision in the Fender factory highlight a shared legacy of listening and creating with intention.
Lange was captivated by the narrative of collectors and niche enthusiasts who treasure the unique tone of amplifiers that bear Lopez’s signature “Her amp was on the assembly line where there were multiple workers making them. Each person wrote their name on a piece of masking tape, and put it inside the amp. They call them the Lupe amps,” he shares with admiration. “I think it’s really endearing, and I find it really amazing…the value is really in the appreciation for the care that she put into it.”
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Through “LFO,” the musician not only honors these two figures but also delves into broader themes of listening, identity and the enduring impact of those who’ve shaped the landscape of sound. “I really appreciated… how all those things connected between her, Lupe, and the people who are appreciating Lupe’s work,” Lange comments. This track, and the album as a whole, invites listeners to explore the deep connections between music’s history and its future, reminding us of the power of sound to bridge disparate worlds.
A Symphony with a Supercomputer
The album’s technological heart beats with the rhythm of the SalMar synthesizer, a unique instrument that encapsulates Lange’s fascination with the intersection of music and machinery. Corresponding with the archivist at the University of Illinois since 2019, he spent hours with the SalMar synth, finding inspiration in its capability to create music generatively, using a blend of old supercomputer brains and analog oscillators.
“An Italian-American educator and musician, Salvatore Martirano, invented it for himself to make generative music that constantly changes and evolves. It’s a one of a kind instrument,” he shares. “He would perform with it live, and listen, this thing is huge to travel with. One of the musical pieces he published at the time was ‘L’s GA, Ballad, Octet‘ short for Lincoln’s Gettysburg Address, an anti-war piece against the Vietnam War. I thought it was cool to see all these deeper intentions with it, [denouncing] the corrupt mentality of violence, but then also pushing through with invention, creativity, and inspiration.”
“There’s such a uniqueness to it,” he says, underscoring the instrument’s influence on the album. The SalMar’s “loops, textures and ideas” permeate Phasor, serving as a bridge between the digital and the organic, the past and the present.
Performing Phasor Live and Beyond
As Lange looks ahead, the live performance of Phasor represents an exciting frontier. The dynamic nature of live music allows Phasor to evolve in real-time, offering audiences a unique experience that captures the essence of his creative vision. “Performing this music live has been so fun recently,” says the artist. “What’s really cool about that is that context can’t be changed. To experience live music, you have to be there in person.”
He adds, “I love it when people are able to determine their own [interpretation]. There’s no prescriptive way to listen to this record. I listen to it in so many different formats, at home, in my car, jogging. It’s really important to find connections where you can.”
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Tainy is not a new face for the Recording Academy. His work has been nominated in the past, and just last year, he won his first Golden Gramophone for his participation on Bad Bunny’s Un Verano Sin Ti, which won best música urbana album.
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But this year, the Puerto Rican hitmaker earned his first-ever nomination as a lead artist with his debut album as artist-producer called DATA — a nom he felt was “far-fetched.”
“It’s special. I’ve been working for awhile,” he tells Billboard. “In music, you always see the Grammys like a stamp. … This is my first project. I can’t say it’s overdue because it’s so new. For me, growing up in Puerto Rico, it wasn’t in our goals or in our minds of things we could accomplish. Just seeing the American Grammys seemed so far-fetched. It wasn’t even in my mind, and for it to happen, is not easy to digest and understand at the moment but I’m blessed to be around all these people who I admire and inspire me in a certain way.” (Karol G’s Mañana Será Bonito won the 2024 Grammy, against DATA and Rauw Alejandro’s Saturno.)
DATA laces his unmatched skills, good music taste, and A-list artist friends such as Bad Bunny, Daddy Yankee, Wisin & Yandel, Julieta Venegas, and more. For Tainy, “it’s super personal.”
“When I started doing music, the people I admired growing up, that’s what they used to do,” he explains. “All these amazing producers would do their own albums and everyone would just hop on and try to do the best track possible. To me, as soon as I became a fan of music and beats, that inspired me so much. I came into the game getting opportunities and working with these artists, and as the genre evolved, those albums didn’t happen anymore. Music changed so much.”
In the latest Billboard News episode, Tainy shares his strongest song on the set, producing Selena Gomez’s first all-Spanish-language project, and helming his very own concert in Puerto Rico’s coveted Coliseo venue.
“I’m still growing, I’m still a student of what I do,” he notes. “There’s a lot of things I want to keep on tapping and trying, just give myself a shot and see what happens.”
In 2022, the remix of the single “Por Las Noches” united Peso Pluma and Nicki Nicole. “Just thank you for making this song. It’s amazing how you describe everything I feel right now, you are very talented. Keep killing it,” the Argentine rapper and singer posted on her Instagram stories in October 2022 about the […]
Gerardo Ortiz picks up his 13th No. 1 on Billboard’s Regional Mexican Airplay chart as “Ahí No Era” advances 4-1 on the list dated Feb. 17.
After a week in the top 10, the single crowns the list following a robust 40% gain in audience impressions, to 7.5 million, earned in the U.S. in the tracking week ending Feb. 8, according to Luminate.
As “Ahí No Va” advances, it unseats Xavi’s “La Diabla” from the lead after one week in charge. The latter dips 1-2 with 6.7 million, that’s a 29% decline from the week prior.
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With 13 No. 1s to his account, Ortiz still has the second-most among soloists, behind Christian Nodal’s 15 No. 1s. Among all acts, Calibre 50 has the most, with 24.
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Here’s the list of the acts with the most No. 1s since the Regional Mexican Airplay chart launched in 1994:
24, Calibre 5019, Banda MS de Sergio Lizarraga18, Banda El Recodo de Cruz Lizarraga18, Intocable17, La Arrolladora Banda el Limon de Rene Camacho16, Conjunto Primavera16, Los Tigres del Norte15, Christian Nodal13, Gerardo Ortiz12, La Adictiva Banda San Jose de Mesillas
As “Ahí No Va” lands at the summit, Ortiz becomes just the sixth soloist to rule Regional Mexican Airplay in the past year. He joins Christian Nodal (“Un Cumbión Dolido” in June 2023), Alejandro Fernández (“No Es Que Me Quiera Ir” and “Difícil Tu Caso,” last Aug. and Nov. respectively), Carin León (“Indispensable,” last Aug-Sept.), El Fantasma (“La Vida Cara,” last Sept.), Eden Muñoz (“Como En Los Viejos Tiempos,” Jan. 27-dated list), and Xavi (“La Diabla,” chart dated Feb. 10).
Elsewhere, “Ahí No Va” pushes 14-4 on the overall Latin Airplay ranking, for Ortiz’ 17th top 10. The song becomes his highest peak since “Regresa Hermosa” reached an equal No. 4 high in 2016.
Musicians launching a career in acting isn’t anything new.
In fact, it’s more common than ever, and Latin artists are no exception as they make their way to the big screen or score a role in a popular television series. Over the past four years, a handful of Latin artists — from Karol G to Bad Bunny, Maluma and Residente — have made their acting debuts.
In January, Karol G showed her acting chops for the first time on Netflix’s Griselda opposite Sofia Vergara, and Bad Bunny booked back-to-back film projects — Bullet Train and Cassandro — after making his acting debut on Netflix’s Narcos: México in 2021.
Meanwhile, Puerto Rican hitmaker Residente made his acting debut in the indie film In the Summers, which premiered earlier this year at the 2024 Sundance Film Festival. The project, directed by Alessandra Lacorazza, won the U.S. Dramatic Grand Jury Prize.
As for Maluma, he starred alongside Jennifer Lopez and Owen Wilson in Marry Me, which was released in 2022. “As a Latino from Colombia, Medellin, who was going to think that my first movie was going to be a Hollywood movie with Owen Wilson and Jennifer Lopez? We’re making history right now as a Latin community, and I feel very proud of being part of this big, big movement that we’re having right now,” he previously told Billboard.
A few other Latin acts, like Becky G, Leslie Grace and Lucero, who had already been part of a series or film before 2020, returned with new projects. Becky, who made her acting debut in 2017 as the Yellow Ranger in Power Rangers, had a few projects under her belt, including Good Mourning in 2022 and Blue Beetle in 2023.
Below, here are a handful of Latin artists who’ve scored major onscreen roles since 2020 (in alphabetical order):
Anitta
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“La Reina del Sur” will be heard again in Europe with the arrival of Los Tigres del Norte in Spain on April 4, when the “Jefes de Jefes” return to the country after 14 years as part of a tour that will take them to Madrid, Barcelona and Pamplona. The first show will be at the capital’s Wizink Center, with capacity for more than 17,000 people. They will also perform for the first time in England, at the Eventim Apollo in London, 10 days later.
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After 55 years since their formation, the icons of norteño music maintain a solid, current career, releasing new music and touring constantly throughout the U.S., Mexico, Central and South America. Their current tour, Siempre Contigo, began on February 2 at the Kia Forum in Inglewood, California and will keep them busy for most of 2024. It is something they do with the best attitude towards their fans.
“Love must always be present in everything you do,” says Jorge Hernández, frontman of Los Tigres. “The most important thing is to be honest with your audience.”
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With hits including “La Puerta Negra,” “Contrabando y Traición,” “Jefes de Jefes,” the Billboard Hot Latin Songs No. 1s “El Acaudalado Mojado” and “El Circo,” and many others, Los Tigres del Norte — who have seen many musical trends come and go over the years — are pioneers of traditional corridos, with the authority that time, accolades and fans have conferred on them.
In an interview with Billboard Español, Hernández spoke about the key to their longevity, his opinion on the new artists who are globalizing música mexicana, their return to Spain and upcoming projects.
Why did it take you so long to return to Spain?
In 2001 we started going to Spain every year and a half, or every other year. Then we were going to release an album and go there before the pandemic, but in the end it couldn’t be scheduled. Now that everything has been falling into place, promoters from Europe called us and the tour was finalized. It begins on April 4 in Madrid and ends on the 14th in London.
Will you have musical guests at the concerts in Spain?
We want to invite several female artists to sing with us. We’ll tell you who they are soon.
At a crucial time for regional Mexican music, it is important to perform in as many places as possible.
That’s right. The work that other colleagues have done has great validity for us and we all have to take advantage and be present so that our music takes this boom full force for which we have fought so hard for a long time.
In fact, we plan to record several videos of our upcoming singles there.
You travel thousands of miles every year to entertain your fans in different countries. How do you prepare physically and mentally to live constantly on the road?
There is always a discipline. Above all, taking care of your health, sleeping the necessary hours, taking care of your body, taking care of how you live. Always go on stage consciously to have the respect of the audience. You must do this from the beginning of your career for it to last. You must be prepared so that vices don’t win over you. All of this is part of taking care that your path is as clean as possible.
The music of Los Tigres del Norte is already part of the Mexican culture. What do you think of the new trends?
Trends will always exist because they are part of the growth of music. I give as an example a tree that has many branches: Norteño music is the base and there are musical currents that come and go over time, different styles, but in the end everything goes back to normal because the essence or base is solid. Young people look for what gives them joy, music to have fun, and there are artists for everyone.
There are young artists who prefer traditional norteño music. Any in particular that you like?
They all deserve our love and respect. I couldn’t name any single name. For me, music is all of us who make up this union. We all work with the same goal: To be relevant.
And what has been the key for Los Tigres del Norte to remain relevant?
The most important thing is persistence. Love must always be present in everything you do, you must be in love with your work. The honesty with which you do your work. One of the main things to stay relevant is to finalize your plans, not leave them halfway. But the most important thing is to be honest with your audience.
You’ve been to some South American countries, but there are many that are still waiting for you.
We have constantly gone to Colombia, to Bolivia, we were recently in Chile. Now we are going to take the tour to Argentina, Peru, Paraguay, which are the countries we were missing.
Will there be any collaborations with other artists this year?
Yes, there will be collaborations. Our label, Fonovisa Records/Universal Music, has some options for us that we will be reviewing. We will have several surprises this year.
Nicki Nicole and Peso Pluma have appeared to call it quits. At least that’s what the Argentine rapper and singer hinted at with a blunt statement she shared on social media after also removing photos of her and the Mexican star from her Instagram account. Explore See latest videos, charts and news See latest videos, […]
Mexican singer-songwriter Horacio Palencia is set to be honored with the BMI President’s Award at the 2024 BMI Latin Awards, taking place March 13.
The special award celebrates Palencia’s contributions as a songwriter in the música mexicana genre. Throughout his career, which spans over two decades, “Palencia has been a driving force in shaping the genre with his timeless lyrics and heartfelt songs, which are deeply rooted in Mexican culture and resonate with listeners worldwide,” according to a press release. Palencia will be honored during a private ceremony that will be hosted by BMI president & CEO Mike O’Neill and BMI vice president, creative, Latin, Jesus Gonzalez, at the Beverly Wilshire Hotel in Beverly Hills.
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“Since joining the BMI family 20 years ago, Horacio has played a major role in the success and evolution of Música Mexicana through his profound connection to the heart and soul of his musical heritage,” Gonzalez said in a statement. “In addition to Horacio’s commercial success, he’s garnered widespread respect within the industry and established himself as one of the most talented and sought-after songwriters in Latin music. We’re so proud to honor Horacio and his prolific career with the BMI President’s Award and celebrate the creative accomplishments of all our 2024 BMI Latin Award winners. It is going to be an incredible night to remember.”
Palencia, who launched his songwriting career at a young age, has received more than 50 BMI Latin Awards, as well as BMI Latin Songwriter of the Year and BMI Regional Mexican Songwriter of the Year four times each. He’s also taken home the BMI Latin Song of the Year for “Niña De Mi Corazon” (2011) and Regional Mexican Song of the Year three consecutive years in a row with “Me Vas a Extrañar” (2017), “Solo Con Verte” (2016) and “No Me Pidas Perdón” (2015). He’s collaborated with and written for artists such as Christian Nodal, Carin León, Grupo Firme and Banda MS, to name a few.
Palencia joins previous BMI President’s Award recipients including Carlos Vives, Gloria Trevi, Juanes, Luis Fonsi and Wisin & Yandel, among others.
During the ceremony on March 13, BMI will also recognize the songwriters and publishers of the past year’s most performed Latin songs in the United States. The BMI Regional Mexican Song; BMI Regional Mexican Songwriter; BMI Contemporary Latin Song; BMI Contemporary Latin Songwriter; BMI Contemporary Latin and Regional Mexican Publisher of the Year will also be awarded.
Before there was Grupo Frontera boasting borderland swagger or Edgar Barrera’s contributions to the música mexicana scene and his Border Kid Records label, there was Intocable. This cowboy-hat donning sextet has become synonymous with the pioneering spirit of Tejano music, carving a path that others would follow.
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As they celebrate their 30-year milestone, Intocable has released their latest accordion-driven, 16-track album, Modus Operandi, on Friday (Feb. 9). This marks not only their three-decade anniversary but also underscores their sustained influence on and innovations within música mexicana.
With eight albums reaching No. 1 on the Top Latin Albums chart — including Sueños (2002), La Historia (2003), and Highway (2016) — and numerous other Billboard accolades, the group’s journey from the small town of Zapata, Texas, to international fame is a testament to their ability to break boundaries and create a sound that echoes through generations. Songs like “Aire” and “Sueña” have become timeless anthems for countless fans.
Seamlessly blending Tejano traditions with pop smarts and a dash of rock, Intocable’s commitment to authenticity and the deep connection they seek with their audience remains unwavering. “I make music, not for fame or for money, but for the connection — that to me is very important,” reveals singer, accordionist and band co-founder Ricardo “Ricky” Muñoz.
Produced by legendary Don Was (Bob Dylan, Iggy Pop, Elton John, Ringo Starr), Modus Operandi bridges the past and future of Tejano music. Here, Muñoz talks about the creative process behind the band’s latest album and collaborating with Don Was, and looks back at their 30-year legacy.
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1. With Intocable celebrating its 30 year anniversary, what’s one memory from the early days that still makes you smile?
Even if it sounds like a cliché, it’s being on stage. Seeing people out there going to see us and getting excited, that’s something I’ll never forget. To this date, I think that’s one of the parts of our journey that I still enjoy.
2. Can you share a memorable moment during the songwriting process of Modus Operandi?
I’ve been learning so much about myself. I make music, not for fame or for money, but for the connection. That to me is very important. We recorded this album a little over two years ago. Our new method is sitting down with a songwriter in a session, playing ping pong, pitching songs and ideas. Which ones do we connect with? We make a list, then we sit with another songwriter, and have another session. Going through the process is always exciting.
3. How was it like working with the legendary Don Was?
After we do our maps of what the songs are going to sound like, we show up to the studio with our producer Don. That’s when the music really comes to life. Don Was does not speak Spanish, but he understands by feel where the song is taking you. Is this a love song? Is this a heartbreak song? Is this a happy song? As he’s reading the lyrics he goes, “Man, you have a unique way of making sad songs with a happy melody. That’s hard to pull off.” Seeing the songs come alive, making something that did not exist in this world, that makes us feel alive. Those moments are precious.
4. What goes through your head when you’re about to release a new album?
Everybody gets nervous. I always say, “Dude, this is probably our last album.” It doesn’t mean that I’m retiring, but we go through a lot — because we care about music. We are fans of music. It takes a big toll on me. I feel like I aged 10 [more] years. [Laughs.]
I’ll tell you one thing, there’s not a viral song in there. It’s real music with substance. Again, it’s about connecting. What’s important is that at the end of the day, I take my hardhat off after the hard work, I see myself in the mirror and sleep at night tranquilo, ‘cause I know I did my best.
5. Can you share a memory from those early days that hinted at your future in music?
I’m an only son and my parents worked, so I spent most of the time with my grandparents. Every day after school or on weekends my grandfather picked me up to go to the ranches, check out the cattle, and I would listen to his music. The first song I fell in love with the accordion was “Mi Piquito de Oro” by Ramón Ayala. I was sold. You hear all these American artists reference when they saw the Beatles on The Ed Sullivan Show — well that was my Beatles/Ed Sullivan Show moment.
My grandfather sold a cow and that’s how he bought me my first accordion. I’m not the best accordion player, but I think I am creative. That’s more important than learning scales, because I don’t even know notes. I just played by heart and by ear, and I’m proud of that.
6. How did you and René Orlando Martínez end up co-founding the band?
We are from a little town called Zapata, Texas and our families knew each other. When I was a freshman, René had graduated from the same school. When we started, it was tough in this genre of music, because it wasn’t very popular. Eventually, tecnobanda, cumbias, and Liberación came out. La Mafia from Texas was probably the biggest thing. To play accordion or bajo sexto in a band wasn’t cool for our generation [in the early ‘90s]. They called it the old people’s instruments. Now you see a lot of kids on social media playing accordion.
We stuck to it and believed in ourselves. But we were also listening to Journey, and playing those instruments too. Even though [Tejano] is a polka rhythm, you gotta have that [rock] melody, like a Def Leppard hook, for example. Now, looking back to 30 years ago, living on the border, we got the best of both worlds.
7. How did you approach that fusion of traditional Norteño with contemporary sounds?
We grew up with that. It’s funny that you say that contemporary, atemporal — and I don’t mean to brag, but when you hear an Intocable song like “Sueña,” it doesn’t sound like it’s from 2001. It still sounds rockin’. We’ve never been defined by an era because we liked those artists. [Michael Jackson’s] Thriller, Journey’s “Don’t Stop Believin’.” Tom Petty albums, Camilo Sesto’s ballads. They still resonate today. It’s timeless. It’s not, “Oh, that’s just old people’s music.” It’s a great song with a great production, period. It’s so rooted in us without thinking about it.
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8. What are your thoughts about the emerging Tejano scene, with bands like Grupo Frontera, or Edgar Barrera with Border Kid Records recently coming into the spotlight?
Frontera, it’s undeniable, the boys are doing great, they are from El Valle de Texas, close to where we are from. I am very happy for them. I hope they are enjoying this journey of music. I wish them all the best, and great for them representing the 956 as we are. I think Edgar changed the movement. There’s a difference — there are bands or people that make it in the industry, but then there are game changers that come along once in a while. That guy is definitely one of them. It couldn’t have happened to a better person, a talented person, a hard worker. And again, a game changer.
9. Over three decades, Intocable has earned Grammys and over a billion YouTube views. Which achievement has been the most meaningful to you?
We already put in the hard work for 30 years. We’ve done our 10,000 hours, well past it. We don’t have to get validated by the A&R, executives, the record company, or whomever. We’re an established brand. Our real fans know what to expect. Maybe new fans will join in, and that’s what makes music beautiful. We can be honest in our work, in our music, be authentic, and that’s priceless.
10. What is your favorite and least favorite thing about being from a border town?
The food [is my favorite]. Being from a border town you get the best of both worlds.
Least favorite? Wow. It’s not that I don’t want to answer, but I just can’t think of one. Some people might think, “no eres ni de aquí, ni de allá” (“you’re neither from here nor there”), but there’s something cool about that too, you’re unique. When we talk about soccer, we can root for two teams. We got more chances! You got to embrace where you’re from.
11. How has Zapata, Texas, shaped the band’s character and values?
Being from a small town, your roots and your values are very family-oriented. The old saying goes, a handshake is all you need, and everybody knows you by name. When you’re falling on hard times, you can always count on your hometown, raise money and get together when a family is down. All that cliché is true. Intocable is that way too, because we are a family, and we are an organization, we try to take care of everybody exactly like if it was a small town.
12. What did your parents do for a living when you were a kid, and what did they think of what you do for a living now?
My mom was the vice president of a bank in Zapata and my dad used to work in the oilfield. What did they think of me? At first, it was scary. Once I got the music bug, it was game over. My interest in school was out the window. I would skip school just to be playing my accordion. I wanted to learn more and more. They knew I wasn’t gonna go to college. So there was no other option. It had to work. If not, I’m in trouble.
That’s what makes me also be very responsible, hardworking, and have a good work ethic. But at first, my parents were like, “That’s not a career, son. That’s a hobby.” Nobody in my family is a musician. They didn’t even know a musician. They would say, “You gotta pick a career.” Well, here I am.
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13. What was the first thing you bought yourself when you began making money as an artist?
Probably a vehicle. I’ve always been a Ford guy. It was a Ford truck.
14. What was the best business decision you’ve ever made?
None. It’s all been sheer luck.
15. With the music industry increasingly digital, what value do you find in releasing Modus Operandi on vinyl?
We’ve been doing vinyl since 2009. It’s my childhood. When we started, we didn’t get to be printed on vinyl. So now that we are our own company and an independent band, we can do that. I’ve always wanted to be in vinyl.
16. The word “legend” is associated with Intocable — do you feel legendary?
Putting on your pants in the morning, drinking coffee, and brushing your teeth is supposed to be legendary? I guess I am, but I feel regular. I feel blessed. I feel agradecido más que nada (more grateful than anything). It’s been a great ride. The people I’ve connected with have been beautiful. Creating music to the best of our abilities, and creating more memories. Then you hear stories about fans saying they got married to a song [of ours], or when fans tell us their kids started saying their first words with our songs, stuff like that. Again, it’s about connecting.
17. Who was your greatest mentor in your career, and what was the best advice they gave you?
My dad. I’ve learned so much from him. My dad is not a musician. But at the time, it was tough love. He had his way of motivating me, and it created a musician with an athlete mentality. I had to be on my A game every time. My dad was tough on me, but I’m grateful for the way he raised me. He was a great man, but very cut and dry. No bull, just straight as an arrow. He wasn’t a hugger, he wasn’t the “I love you” or “good job, son” type. He was like, “It was good, but you can always work on this and be better.”
Say I was in Little League, and I was playing baseball and got struck out. My dad would be the type to get up and leave. “Why is my daddy leaving?” You never want to see that disappointment in [a father’s] face, you got to work harder. That pushes and drives me to this day.
18. With “Ojalá Estuvieras Aquí” being a focus track on the new album, can you delve into the inspiration behind the song?
“Ojalá Estuvieras Aquí” is one of those songs that sounds like an Intocable song right off the bat. I’m not comparing myself to The Beatles, but there are songs — like “Lucy in the Sky with Diamonds,” for example — that are so experimental, the structure, the verses… but once they got to the chorus, it would tell you, “Hey, we’re still The Beatles.” That’s “Ojalá Estuvieras Aquí.” It has a weird chord structure, but the chorus is very familiar. It has a haunting melody, it’s very nostalgic, and once you hit that chorus, the song is pouring its heart and soul.
We grew up with that. That’s what our producer has done — he has produced for The Rolling Stones, John Mayer, Bob Dylan. That’s crazy! It’s subtle, but his hand is there in our music.
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19. Can you share a memorable fan interaction that has stayed with you over the years?
There are sad moments where we meet terminally ill fans that said their last wish was going to see us live — then there are happy moments with fans proposing on our shows, or families getting together to see us.
20. What would you say is the key to longevity?
Doing the right thing for the right reason. Don’t do it for fame, money or trends. Trends won’t last. It’s all paper houses. Hard work pays off. And it’s a better journey, a longer journey. The journey is what makes it beautiful.